What a retort was "Paradise Lost" to the lewd revellers who would have profaned his aristocratic isolation with howlings and brutalities and philistine uproar! Milton despised "priests and kings" from the heights of a pride loftier than their own--and he did not love the vulgar mob much better. In Paradise Lost he can "feel himself" into the sublime tyranny of God, as well as into the sublime revolt of Lucifer. Neither the one or other stoops to solicit "popular voices." The thing to avoid, as one reads this great poem, are the paraphrases from the book of Genesis. Here some odd scrupulousness of scholarly conscience seems to prevent him launching out into his native originality. But, putting this aside, what majestic Pandemoniums of terrific Imagination he has the power to call up! The opening Books are as sublime as the book of Job, and more arresting than Aeschylus. The basic secrets of his blank verse can never be revealed, but one is struck dumb with wonder in the presence of this Eagle of Poetry as we attempt to follow him, flight beyond flight, hovering beyond hovering, as he gets nearer and nearer to the Sun. It is by single paragraphs, all the same, and by single lines, that I would myself prefer to see him judged. Long poems have been written before and will be written again, but no one will ever write--no one but Dante has ever written--such single lines as one reads in Milton. Curiously enough, some of the most staggering of these superb passages are interludes and allusions, rather than integral episodes in the story, and not only interludes, but interludes in the "pagan manner." Second only to those Luciferan defiances, which seem able to inspire even us poor worms with the right attitude towards Fate, I am tempted to place certain references to Astarte, Ashtoreth and Adonis. "Astarte, queen of Heaven, with crescent horns, To whose bright Image nightly, by the moon, Sidonian virgins paid their vows and songs." Or of Adonis: "Whose annual wound, in Lebanon, allured The Syrian damsels to lament his fate In amorous ditties all a Summer's day--" That single line, "Whose annual wound, in Lebanon, allured," seems to me better than any other that could be quoted, to evoke the awe and the thrill and the seduction of all true poetry.